The beauty of performing eye- Kathakali

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The first thing that hits you about Kathakali dance, sitting in the dark, is the music. There are many instruments that are combined within, and they provide the scene with the atmosphere. First, you hear vocalists use pitch changes and intonations. Finally, visual aesthetics are created by the striking colours applied on the faces of the actors and ornate headpieces. These three components together make up Kathakali dance, which, put simply, is a style of dance with roots back to India many centuries ago.

In fact, the origins of Kathakali dancing in India date back to the late 16th and early 17th centuries. It was given its present name at the time and took on its modern-day features. Its origins, though, go back for further to Kerala's ancient folk arts and classical dances. These ancient folk dances were performed by performers wearing colourful headdresses, costumes, and intricate, often ornate, headpieces at religious festivals.

Kathakali's tale is rooted in folklore. A raja is said to have welcomed Krishnattom to a show at the temple. The standard was limited to those of high caste and royalty. He declined, claiming it was not for the common man to see, when another raja asked Krishnattom to play for his people. He produced Ramanattom in response, which incorporated tales from other epic Indian poetry. Eventually, in the area of Kerala, India, both kinds of dances are thought to have developed into Kathakali.

Picture credits: istockphoto.com

In India, Kathakali shares similarity with all other dance forms. To say tales, it combines rhythm, choreography, hand movements, and verbal narratives. Three groups of performers present the stories: the actors (who do not speak), the percussionists, and the vocalists. The performers were usually all males, but it has changed such that the Kathakali dance can be done both by men and women.

1. Choreography

To convey the tale, the performers themselves cannot rely on their voices. Instead, through complex choreography, they build their characters. In turn, the actors use mudras, or hand gestures, to express their individual character's dialogue. The mudras serve as a kind of sign language during Kathakali. Since they don't speak, actors use facial gestures to demonstrate their character's internal state. This is referred to as bhava.

The particular makeup and costumes they wear help identify the characters. The colour of the main make-up is of special importance; in Kathakali dance, they symbolise various styles of characters. For instance:

• Pacha - vivid, coral/red lips to represent gods, nobles, and sages

• Katti - a combination of green and red with an upturned moustache to portray evil

• Kari - uses black makeup to represent woodland dwellers or hunters, or even ghosts when used with red streaks.

• Taadi - red, white or black beard is used to represent godly or demonic characters

• Minukku - to represent virtuous female characters using orange, purple, or saffron

2. Music

Kathakali dance uses music to establish atmosphere to direct the choreography and sound of each scene. To the musical accompaniment, the vocalists sing the narrative, told by verse. To build every mood, there are many styles of music used.

• Campa - induces uncertainty when a confrontation or dispute arises

• Pancari - used to create a more ominous tone, such as sharpening a sword by an actor

• Triputa - used to express thought-provoking experiences for scenes that feature sages and teachers

• Muri Atanta - used for light-hearted comedy scenes or otherwise.

To establish the sound of a scene, as the music shifts, vocalists can vary their pitch.

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The Kathakali dances initially took all night to stage. However, they were reduced to a couple of hours today. Many of the dances are based on the Mahabharata, one of two ancient Indian Sanskrit epic poems. A shorter Indian epic poem, Ramayana, which is based on Indian mythology, is based on other Kathakali dances. This epic poem talks of the lord Rama in the kingdom of Ayodhya. Kathakali dance has developed in recent era to discuss stories from Christianity and even Shakespeare, further than the original stories of these two epic poems.

Picture credits: istockphoto.com

Sources: Kapila Vatsyayan. INDIAN CLASSICAL DANCE. Publications Division. Kindle Edition.

NATYASHASTRA by Bharata Muni, translated into english by Manomohan Ghosh